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2011 J. Paul Getty Trust
The J. Paul Getty Museum
COMPLETE GUIDEThe J. Paul Getty Museum
COMPLETE GUIDE TO ADULT AUDIENCE
INTERPRETIVE MATERIALS:
GALLERY TEXTS AND GRAPHICS
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complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
Get the Guide to Adult Audience Interpretive Materials online:
http://go.getty.edu/forms_tools/forms/museum/aaim_completeguide.pdf
http://go.getty.edu/forms_tools/forms/museum/aaim_quickguide.pdf
Pg 1 of 41
Permanent Collection Installations and Exhibitions (Including Permanent Collection Rotations)
Overview Pg 25
Interpretive Elements Pg 6
At-a-Glance Outline Pg 7 Diagram of Interpretive Elements Pg 8 Descriptions, Editorial Tips, Specifications, and Samples Pg 926
Appendix Pg 27
Interpretive Materials Development Process Pg 2833 Editorial/Design Request Form and Process Pg 3435 Label Tags (GettyGuide, Recent Acquisitions, etc.) Pg 36 Object Not on View Pg 37 Museum Policy on Second-Language Didactics for Exhibitions Pg 38 Suggested Reading and References Pg 39 Contact Information Pg 40
FRONT COVER: A RenAissAnce cAbinet RediscoveRed, NOVEmbER 22, 2005AuGusT 5, 2007
The J. Paul Getty Museum
COMPLETE GUIDE TO ADULT AUDIENCE
INTERPRETIVE MATERIALS:
GALLERY TEXTS AND GRAPHICS
-
complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust Pg 2 of 41
Overview Pg 35
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complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
OVERVIEW
This guide outlines the various types of texts and graphics offered to adult visitors to the J. Paul Getty Museum at both the Getty Center and the Getty Villa. It addresses audience, approach, style, and content for the full array of interpretive materials to help curators and other authors prepare appropriate and engaging gallery texts and graphics for the permanent collections and exhibitions (including permanent collection rotations). The guidelines also include descriptions of and design specifi cations for each element. It offers ideas, suggestions, goals, and tips for preparing interpretive materials.
CONCEPT
For our wide spectrum of visitors, the Getty provides information in a variety of formats to accommodate different learning styles (including GettyGuideTm, Web presentations, gallery talks, active learning spaces in the sketching Gallery at the Getty Center and the Timescape Room at the Getty Villa, etc.). This guide focuses speci cally on in-gallery texts and graphics.
Our goal is to capitalize on the strengths of each interpretive element to communicate different types of information. For example, some components are best suited to present information that is contextual or analytical (introductory statements) or to help visitors focus on what can be seen in an individual work of art (object labels). Others foster learning in a more experiential manner by breaking down information into smaller units (such as section and focus texts and gallery cards). We make decisions to repeat some information across media so that key points are emphasized. These materials work in tandem with the Gettysin-gallery media and online presentations.
The primacy of the art is at the forefront of all gallery presentations. Judicious use of a variety of interpretive elements helps to guide the visitors experience of the art.Taken together, our materials should:
foster curiosity about the objects on display provide guidance for looking closely and seeing critically help visitors access information that increases understanding offer a more meaningful experience in front of a work of art
Pg 3 of 41
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complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
STYLE
use a tone that is appropriate to the projects goals and engages visitors.
Write to encourage looking and thinking, to foster a sense of discovery. Be crisp, clear, and concise (see the At-a-Glance Outline [pg 6] for word counts for individual types of interpretive materials). Use strong verbs and an active voice. Consider visual cues and other techniques to enliven text blocks: headings, subheadings, time lines, and didactics with strong visual components, such as images, diagrams, and maps. When writing about artists at work, use past tense; for works of art, use present tense. Avoid large or infrequently used words, and make an effort to defi ne specialized terminology (i.e., foreshortening, linear perspective). When foreign terms are used, defi ne them, and translate foreign titles (if this is not possible, use the foreign title fi rst, followed by the English translation in parentheses). For subsequent mentions, use English.
CONTENT
Consider these strategies when preparing texts:
Focus on conveying no more than one to three ideas. For object labels, begin by identifying concrete visual details to assist viewers in guided looking. Avoid unsupported, qualitative judgments such as The artist is the greatest of his time or a particular work of art is the fi nest example of its type. When appropriate, make a connection between the historic object and a contemporary context (i.e., a cartonnier is like a modern fi ling cabinet). If possible, include quotations by artists or contemporaries to provide a fi rsthand voice. When relevant, provide information about the technical process involved in the creation of a work of art. When making comparisons, the comparative work should be close by or reproduced on the label. Sometimes tombstone information is enoughnot all objects require additional text.
Examples of interpretive materials are included in the complete Guide to Adult Audience interpretive Materials, beginning on pg 9. For other aspects of style and content, refer to theGetty Editorial style Guide, available online at http://wiki.getty.edu/con uence/display/WEbEDusGuIDE/main+Page. Note that additional samples of previous exhibitions and installations are available by request from Design and Collection Information & Access Editorial.
AUDIENCE
The majority of the Gettys visitors are curious, college-educated, nonspecialist adults. To reach this target audience, think about the patterns visitors exhibit as they look at art. They:
are motivated to learn have limited time have their own priorities and organizational approach to taking in information and navigating space may be overwhelmed or put off by too much information or specialized art terminology are often visiting the Museum as a social outing
APPROACH
Organize interpretive materials hierarchically, rst establishing the logic, context, and themes of the gallery installation and revealing relationships among the objects, then moving to speci cs regarding individual works of art. Here are some important points to assist in writing:
Identify the unifying theme or idea for each gallery. Layer information supporting that idea from general to specifi cfrom gallery title, to introductory statement, to section and focus texts, to individual object labels (see At-a-Glance Outline, pg 6). Regardless of sequence or adjacencies, individual elements such as object labels should be able to stand on their own, offering information and strategies for looking closely as well as reinforcing the themes of the gallery. The hierarchy for interpretive materials should be consistent throughout the Museum to build on visitor expectations about where and how to learn more.
While no single component can provide all possible answers, gallery materials should generally address the questions the visitor may have, such as:
What is it? Why is it here, and why should I care? What is the story or symbolism? How was it made? How was it used? What can I discover by looking more carefully?
Pg 5 of 41Pg 4 of 41
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complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust Pg 6 of 41
Interpretive Elements
At-a-Glance Outline Pg 7 Diagram of Interpretive Elements Pg 8 Descriptions, Editorial Tips, Specifications, and Samples Pg 926
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complete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
AT-A-GLANCE OUTLINEGallery interpretive materials, including titles, texts, and graphics, are driven by the goals and context of each installation.
DIAGRAM OF INTERPRETIVE ELEMENTS Pg 8
BRANDING TITLE Pg 9 states main concept, often illustrated with iconic objects Word count: approx. 30 characters
EXHIBITION TITLE / GALLERY NAME AND NUMBER Pg 1011 serving as both on-site orientation and promotion, the exhibition/installation title appears in Center common spaces, including Orientation station maps, and at the Villa Entry Pavilion. Permanent collection installation titles appear in gallery doorjambs. Exhibition galleries read Changing Exhibitions. Thematic, chronological, or geographic focus Word count: approx. 30 characters
INTRODUCTORY STATEMENT Pg 12 states main concept; may include highlight objects Word count: 50200
SECTION, FOCUS, AND DIAGRAMMATIC TEXTS Pg 1315 section texts address larger themes and unify groups of objects and, when necessary, divide the installation space into more digestible areas for public viewing and understanding. Focus texts provide additional strategies and approaches to directed looking, conservation stories, thematic threads, biographies, and connections among objects. On a more intimate scale and scope than section texts, focus texts contextualize a number of objects, sometimes as a case overview. Diagrammatic texts provide additional information through maps, time lines, images and illustrations, family trees, etc. All of these texts may include comparative illustrations and captions. Word count: 200 maximum
OBJECT LABELS Pg 1621 In general, types of labels include wall labels, group labels, case labels, and pedestal labels. begin with speci cs that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points about a particular work of art to foster close looking and understanding. Word count: varies, depending on type of label, design, and layout (generally 30140 words maximum)
SUPPLEMENTARY MATERIALS Pg 2226 Wall quotes, murals, and captions brochures self-guided activities Gallery cards Labels for in-gallery video, interactive media, and listening stations
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DIAGRAM OF INTERPRETIVE ELEMENTS
A. BRANDING TITLE
B. EXHIBITION TITLE / GALLERY NAME AND NUMBER
C. INTRODUCTORY STATEMENT
D. SECTION, FOCUS, AND DIAGRAMMATIC TEXTS
E. OBJECT LABELS
F. SUPPLEMENTARY MATERIALS
B
B
B
A B
B
B
B
E
E
E
E
EE
F
F
F
F
F
D
D
D
D
C
C
C
INTERPRETIVE ELEMENTS
Pg 8 of 41
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interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
dec. 8, 2009feb. 28, 2010
at the Getty Center
Rem
bran
dt
imAGE CourtEsy of thE British musEum, London. thE trustEEs of thE British musEum
TEXT AND DESIGN 2009 J . PAul GETTy TruSTMANufAcTurED by AMGrAPH (818) 301-5353
Above: Image courtesy of the British Museum, London. The Trustees of the British Museum Below: Image courtesy of the Rijksmuseum, Amsterdam Text and Design 2009 J. Paul Getty Trust
T h e D u t c h V i s u a l T r a d i t i o n
Drawing LifeWest Pavilion, Plaza Level
November 24, 2009February 28, 2010
Also on View
December 8, 2009February 28, 2010
Exhibitions Pavilion, Upper Level
& His Pupils
Drawings by
Rembrandt Telling the Difference
EDITORIAL TIPS
The title conveys the main concept ofthe exhibition/installation, often illustrated with imagery.
Keep titles to a manageable length, as they will be used on a variety of promotional and installation materials in a range of sizes.
Titles may be abbreviated for street banners and appear full-length in on-site applications.
Enrich titles with an evocative phrase, where appropriate (as: Telling the Difference).
SPECIFICATIONS
Word count: Approx. 30 characters
Measurements:Dependent on available wall space, size of installation, light levels, and selected promotional materials
Typeface:Dependent on design solution
Fabrication:Various methods, including direct-application vinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
A. BRANDING TITLEstates main concept, often illustrated with
iconic objects
BrAndinG title
sTREET bANNERs*sHORTENED TITLE
ENTRANCE HALL *CONTAINs FuLL TITLE
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L2 Terrace
Through January 10, 2010
Opening February 17
Exhibitions
S South Pavilion
Opening September 18
SPECIAL
ExhIbITIOn
Plaza Level
Through July 29, 2007
Opening M
arch 11
Getty Research Institute
Opening M
ay 6
Opening Decem
ber 8
Exhibitions Pavilion
PhOTOgrAPhS
Opening M
arch 18
W West Pavilion
Opening M
ay 6
N North Pavilion
SPECIAL
ExhIbITIOn
Plaza Level
ILLu
MInATED
MAnuSCrIPTS
PhOTOgrAPhS
L2 Terrace
Through March 21, 2010
PhOTOgrAPhS
SPECIAL
ExhIbITIOn
Plaza Level
Through April 18, 2010
Plaza Level L2 Terrace
Through June 6, 2010
Plaza Level
Through May 16, 2010
Opening June 15
Opening M
arch 23
CENTER: todAY At tHe GettY bOARD AND ORIENTATION mAP
CENTER: ENTRANCE HALL PROmOTION
VILLA: ORIENTATION DIsPLAY
EDITORIAL TIPS
Thematic, chronological, or geographic focus
Promotional materials offer a glimpse of what will be seen in the galleries. Choose images and brief text (usually the exhibition title) that entice visitors to take a look, to make the journey.
Remember that one of the primary purposes for onsite signage, in addition to presenting the main concept of the exhibition, is orientation.
Ensure that language is consistent on maps and other orientation materials and text panels, as appropriate.
SPECIFICATIONS
Word count: Approx. 30 characters
Measurements: Dependent on available wall space, size of installation, and light levels
Typeface:LT Syntax for directional languageMinion Pro, using expert numerals and fi , fl , and ff ligatures, or exhibition-specifi c logotype, for descriptive texts
En dashes between inclusive dates
Fabrication:Various methods, including direct-application vinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
B. EXHIBITION TITLE
serving as both on-site orientation and promo-
tion, the exhibition/installation title appears in
Center common spaces, including Orientation
station maps, and at the Villa Entry Pavilion.
Permanent collection installation titles appear
in gallery doorjambs; exhibition galleries read
Changing Exhibitions.
eXHiBition title Pg 10 of 41
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B. GALLERY NAME AND NUMBER
In gallery doorjambs and on Orientation station
maps, also Center common spaces and at the
Villa Entry Pavilion. Exhibition galleries read
Changing Exhibitions so it is not necessary to
change frequently.
EDITORIAL TIPS
Gallery name and number provide orientation and indicate what is displayed in each gallery.
Ensure that language is consistent on maps and other orientation materials and text panels, as appropriate.
Wherever possible, choose names that have a thematic focus, using terms that are understandable to our general visitors.
SPECIFICATIONS
Word count: Approx. 30 characters
Measurements: CENTER: 12 W X 7 H , or for a double 12w X 14 H VILLA: 10.25 W X 6.125 H
Typeface:Minion Pro, using expert numerals and fi , fl , and ff ligatures
En dashes between inclusive dates
Fabrication:CENTER: Glass bead-blasted on reverse. Type etched and paint in-fi lled in black. Flush stainless steel pins to mount. Sign stands-off from doorjamb surface.
VILLA: Bronze and painted photo-etched magnesium with screen-printed tactile graphics
CENTER VILLA
Title: cap height; Arrow:7/8 cap height
Dates:Match title point size, expert
Gallery Number: cap height; Univers 55
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ROTATING EXHIbITION INTRO PANEL: PAUL oUteRbRidGe: coMMAnd PeRFoRMAnce, mARCH 31AuGusT 9, 2009
EDITORIAL TIPS
The introductory statement clearly and concisely articulates the primary organizing concept for the exhibition or installation.
It provides the context in which to consider the works of art, elaborating on relevant historical, societal, or artistic factors.
This is also the place to acknowledge organizing parties, indemnity, the presence of an online checklist or presentation, GettyGuide or related exhibition information, as well as display conditions, such as low light levels. (Note: Sometimes this is included earlier, on a title wall.)
SPECIFICATIONS
Word count: Permanent collection galleries: 50150 Exhibition galleries: 150200
Measurements:Dependent on available wall space, size of installation, and light levels
Typeface:For exhibitions, the standard is Minion Pro, but it may be customized to suit the
installation. Use old-style numerals andfi , fl , and ff ligatures, when available.
Fabrication:Various methods, including direct-application vinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
C. INTRODUCTORY STATEMENT
states main concept; may include highlight objects
introductorY stAtement
Revisions:
Name Date
5
4
3
1
2
Issue Date:
Drawn By:
Description
POE
DW
11.12.08
Drawing
12.16.081.20.092.24.094.23.09 AB
OUTERBRIDGE: W001A.1Scale= 3/8" = 1'-0"
2009.4.49 EX.2009.4.53 EX.2009.4.54
Paul Outerbridge (American, 18961958) burst onto the photographic scene in the early 1920s with images that were visually fresh and tech-nically adept. He applied his talent for the formal arrangement of objects to the commercial world, introducing an artists sensibility to advertisements for mens haberdashery, glassware, and perfume in fashionable magazines such as Vanity Fair and Harpers Bazaar.
In the mid-1930s Outerbridge developed a highly successful career as a freelance color photographer. His controversial nudes, often printed in the intensely hued carbro color process, allowed him to naturalisti-cally reproduce subtle skin tone variationssomething that had not been done before. His seminal book, Photographing in Color, sealed his reputation as one of the pioneers of color photography.
PAUL OUTERBRIDGE Command Performance
In 1943 Outerbridge moved from New York to Southern California, eventually settling in Laguna Beach, where he opened a small portrait studio. During the 1950s he traveled extensively, making 35 mm photographs in black-and-white and in color. His work was featured in Family Circle, Holiday, and American Photography magazines. From 1954 until his death in 1958, Outerbridge wrote a monthly column on color photography for U.S. Camera magazine.
ALL GRAPHICS TBD*WALL MURAL APPLICATION
3'-0"
3"
2'-5"8'-5"
3'-3"
7 1/4"
1'-6 1/4"
2'-5 3/4"
3'-7 3/4"
5'-0 1/2"
6'-8 3/4"
9'-0 1/4"
3/4"
A2.01
ELEVATIONW 001A
EX.2009.4.43EX.2009.4.11EX.2009.4.1084.XP.208.139EX.2009.4.15
97.XM.70.3397.XM.70.32
EX.2009.4.13
84.XP.208.141
84.XP.727.384.XP.208.137
EX.2009.4.42
EX.2009.4.45EX.2009.4.4
EX.2009.4.50
2009.4.49
2009.4.28
96.XM.338.6185.XM.201
96.XM.338.54
EX.2009.4.71EX.2009.4.3
EX.2009.4.32
EX.2009.4.51EX.2009.4.8
EX.2009.4.9
EX.2009.4.57 EX.2009.4.29 EX.2009.4.31 EX.2009.4.58
84.XP.727.4 EX.2009.4.33EX.2009.4.14EX.2009.4.7 EX.2009.4.44
EX.2009.4.30EX.2009.4.5 84.XP.460.1 EX.2009.4.12
EX.2009.4.77
EX.2009.4.70
84.XP.208.138
EX.2009.4.16
EX.2009.4.2
EX.2009.4.27EX.2009.4.6
EX.2009.4.1
W 001A
W 002
W 001B
W 003 W 001C W 001D
W 005
W 004
PAUL OUTERBRIDGE:Introductory Text
JO ANN CALLIS:
Introd
uctory Text
Paul Outerbridge (American, 18961958) burst onto the photographic scene in the early 1920s with images that were visually fresh and tech-nically adept. He applied his talent for the formal arrangement of objects to the commercial world, introducing an artists sensibility to advertisements for mens haberdashery, glassware, and perfume in fashionable magazines such as Vanity Fair and Harpers Bazaar.
In the mid-1930s Outerbridge developed a highly successful career as a freelance color photographer. His controversial nudes, often printed in the intensely hued carbro color process, allowed him to naturalisti-cally reproduce subtle skin tone variationssomething that had not been done before. His seminal book, Photographing in Color, sealed his reputation as one of the pioneers of color photography.
PAUL OUTERBRIDGE Command Performance
In 1943 Outerbridge moved from New York to Southern California, eventually settling in Laguna Beach, where he opened a small portrait studio. During the 1950s he traveled extensively, making 35 mm photographs in black-and-white and in color. His work was featured in Family Circle, Holiday, and American Photography magazines. From 1954 until his death in 1958, Outerbridge wrote a monthly column on color photography for U.S. Camera magazine.
PERmANENT COLLECTION INTRODuCTORY sTATEmENT PANEL: NORTH PAVILION, GALLERY N101
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EDITORIAL TIPS
Explore, in greater depth, one of the primary themes of the installation or exhibition.
The headline helps to highlight and defi ne a particular group of objects that are distinct from those in other sections of the installation.
May include comparative illustrations and captions (A picture paints a thousand words)
SPECIFICATIONS
Word count: 200 maximum
Measurements: Dependent on available wall space, size of installation, and light levels
Typeface:For exhibitions, the standard is Minion Pro, but it may be customized to suit the installation. Use old-style numerals and fi , fl , and ff ligatures, when available.
Low light requires greater contrast and/or larger point sizes for legibility.
Fabrication:Various methods, including direct-applicationvinyl, murals, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
D. SECTION TEXTS
section texts address larger themes and unify
groups of objects and, when necessary, divide the
installation space into more digestible areas for
viewing and understanding.
section teXts
Page 2 of Designers: N
icole Trudeau, Emily M
orishita
J. Paul Getty M
useum Exhibition D
esign Tel 310 440 7248 Fax 310 440 7747
Text Panel, Cube G
allery. Dim
s: 29.25 X 44.5
Oudrys Painted M
enagerieFin
al Pro
of
3.08.07
m
The paintings in this gallery celebrate some of the star specimens of King Louis XVs collection of animals at Versailles. Inherited from his great-grandfather Louis XIV, the menagerie was designed by the court architect Louis Le Vau. His design centralized the animal exhibits, as opposed to scattering them across the park. Visitors could watch the animals from an octagonal observation room in a small chteau in the central courtyard. The Versailles menagerie was compiled through royal commission and diplomatic gifts. Exotic animals were imported on merchant ships along with sugar, coffee, and indigo, and they were intimately connected with colonialism and the luxury trade. As trade with Africa, the Americas, and the East Indies blossomed, specimens from these regions signified the growing
reach of French mercantile power. The menagerie served as a research source for scientists and artists until the Revolution, when it was dismantled and the surviving animals were moved to the French natural history museum.
The Kings Menagerie
View of the Versailles Menagerie, Nicolas Langois (French, active about 1640). Runion des muses nationaux/Art Resource, New York 827
Empire, religion, and art were closely intertwined in Aztec culture. By the early
1500s, Aztec emperors based in Tenochtitlan (present-day Mexico City) ruled a
population of some twenty-five million throughout central and southern Mexico.
Though short-lived, the empires success depended on meeting two formidable
challenges: maintaining authority over conquered provinces and engendering a
shared identity among subject peoples. Imperial power was enforced through
perpetual warfare and the collection of tribute. Temples and sculptures created
in the artistic style of the Aztec capital were deployed strategically to unify
communities of diverse ethnic backgrounds.
Archaeologists today explore cross-cultural
comparisons between the Aztec and the Roman
empires. Both developed theater states, in
which monumental architecture and ornate
cult precincts served as stages for performing
religious and political ceremonies. Dramatic
spectacles such as ritual combats, triumphal
processions, and sacrifices celebrated elite
warrior values and ancestral traditions, securing
bonds of loyalty to the emperor.
Surrounded by Aztec priests, a golden eagle perches on a blooming cactus, symbolizing the founding of Tenochtitlan. Illustration from the Codex Mendoza, colonial Mexican, about 1541
Cou
rtesy of the
Bod
leian Libr
ary, U
nive
rsity of O
xfor
d
oUdRYs PAinted MenAGeRie, mAY 1sEPTEmbER 2, 2007 tHe AZtec PAntHeon And tHe ARt oF eMPiRe, mARCH 24JuLY 5, 2010
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Arent de Gelder began his training in the late 1650s in Dordrecht
with Samuel van Hoogstraten (whose work is also on view in this
exhibition), himself a Rembrandt pupil of the 1640s. De Gelder
went on to study with Rembrandt in Amsterdam in about 166163
before settling permanently in Dordrecht. Thanks to his wealthy
father, De Gelder could devote himself to his art while never
having to earn a living from it. From the mid-1660s into the 1720s,
he painted biblical and literary subjects, portraits, and a couple of
genre scenes. He adhered remarkably to Rembrandts style decades
after it had passed out of fashion. Having no pupils and making
few preparatory studies, De Gelder was not a prolific draftsman.
A modest group of drawings can now be attributed to him.
Arent de GelderDordrecht, 1645Dordrecht, 1727
Label #1
Last revision: 8/21/08
Gallery #E201
Label color: Dove Grey m a s t e r
East PavilionPaintings
Painterly Inspiration
Ovids Metamorphoses, a series of darkly erotic poems written in the first century .., was one of the most popular and widely read texts in Renaissance and Baroque Europe. Painters vied with each other to depict its verseswhich describe the loves of the gods and the transformation of their human lovers into animals and plantswith vivid images of love and intrigue. Two contrasting portrayals of one of the most beloved talesin which the god Jupiter, in the guise of a bull, seduces and captures the princess Europaare exhibited in this pavilion: Guido Renis luminous sea voyage Jupiter and Europa; and Claude Lorrains lyrical seascape Coast View with the Abduction of Europa. Although related by their largely faithful adherence to Ovids text, these works eloquently attest to these renowned painters distinctive and highly inventive artistic responses in Bologna and Rome between 1632 and 1645.
CAPTURING EUROPA
Final art
EDITORIAL TIPS
Use focus statements to defi ne a group of objects apart from the larger sections within the installation.
Include comparative illustrations and captions, as applicable.
SPECIFICATIONS
Word count: 200 maximum
Measurements: Smaller in scale than section texts, but greater than labels. Dependent on available wall space, size of installation, and light levels. Examples on this page are different sizes (and not to scale).
Typeface:For exhibitions, the standard is Minion Pro, but it may be customized to suit the installation. Use old-style numerals and fi , fl , and ff ligatures, when available.
Low light requires greater contrast and/or larger point size for legibility.
Fabrication:Various methods, including direct application vinyl, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
D. FOCUS TEXTS
Focus texts provide additional strategies and
approaches to directed looking, conservation
stories, thematic threads, biographies, and
connections among objects. On a more intimate
scale and scope than section texts, they
contextualize a number of objects, sometimes
as a case overview.
Focus teXts
dRAWinGs bY ReMbRAndt And His PUPiLs: teLLinG tHe diFFeRence, DECEmbER 8, 2009FEbRuARY 28, 2010
cAPtURinG eURoPA INsTALLATION, PERmANENT COLLECTION PAINTINGs GALLERIEs, eURoPeAn PAintinGs, 16001700, GALLERY E201
GROuP CAsE LAbEL: FINAL sIZE: 11.5 W X 5.625 H sTANDARD VILLA 6 LAbEL; VILLA PERmANENT COLLECTION GROuP CAsE LAbEL, dionYsos And tHe tHeAteR, GALLERY 114
Page 2of 7
Theater Vase CaseID#92, Type 4.0, 60 wideGallery 114 - Theater
FINAL ART8/19/10
Writers: JG/Team 2Designers: AM/RCEditor: CC/ST
Villa Interpretive Materials The Getty Villa Permanent Collection J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747
VIM
THEATRICAL MOTIFS
Most of the surviving vases that depict theatrical performance were produced in southern Italy and Sicily in the 300s b.c. Used at symposia (male drinking parties), these vessels are o en decorated with images connected to the cult of Dionysos, god of wine and theater. Masks representing speci c characters in a play also symbolize the cra of theater and its patron deity.
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in venice and the veneto
italy
paduaverona
veneto
In Venice and the Veneto, drawing did not occupy the central place in the creative process as it did elsewhere. Characterized particularly by the work of Mantegna, Bellini, and Titian, Venetian drawing sought pictorial effects through fragmented forms, depictions of light and shade, and a concentration on atmosphere over precise detail. To achieve these ends, Venetian draftsmen usedand popularizedblue-colored paper, which provided a useful midtone for such effects. A tradition emerged of small, meticulous drawings made in pen and ink or with a fine brush; later, black chalk was adopted, allowing broad forms and intense contrast, a good match for the blue paper.
florence
venice
rome
EDITORIAL TIPS
Try to achieve at least a 50-50 ratio of images to text.
Quotations enrich and personalize stories.
Maps should call out geographic information and sites directly pertinent to the display.
When possible, title the map or add text to contextualize it.
SPECIFICATIONS
Word count: Varies, depending on scale and legibility
Measurements: Unique scale, dependent on available wall space, size of installation, and light levels
Typeface:For exhibitions, the standard is Minion Pro, but it may be customized to suit the installation. Use old-style numerals and fi , fl , and ff ligatures, when available.
Low light requires greater contrast and/or larger point size for legibility.
Fabrication:Various methods, including direct application vinyl, 3-D lettering, silk-screen, or projection (depending on overall design and installation)
D. DIAGRAMMATIC TEXTS
Diagrammatic texts provide additional
information through maps, time lines, images
and illustrations, family trees, etc.
diAGrAmmAtic teXts
Life Antiquities MuseumJean Paul Getty, known as Paul during his life, was born on December 15, 1892, in Minneapolis, Minnesota, the child of Sarah C. McPherson Risher (18521941), a former schoolteacher, and George F. Getty (18551930), an attorney.
1892Taken by oil fever, George F. Getty moved to Oklahoma with his family in 1903. Young Paul learned the ropes of oil drilling while accompanying his father in the fields. After the family relocated to California in 1906, he worked in the oil fields during summer breaks.
1903By mid-1916, aged twenty-three, Getty had made his first million dollars in the oil business and decided to retire and enjoy a life of total indolence, as he put it, in Southern California.
1916J. Paul Getty traveled extensively in Europe and Asia in 191214, when he was studying political science and economics at Oxford. During his Grand Tour, he visited the major museums and archaeo-logical sites of the Mediterranean. Getty often dated the beginning of his desire to collect to a trip to Japan and China during which he bought some Oriental art.
191214Getty returned to the oil business in 1919 and proved to be a shrewd investor. During the Great Depression, he acquired major holdings in various petroleum companies, and by 1938 he was heading an oil consortium composed of his fathers and his own companies.
191938Gettys first period of antiquities collecting dates to 193940, when he was touring Italy. His diaries reveal countless visits to Romes historical monuments and museums, and field trips to archaeological sites such as Ostia and Pompeii. This phase was interrupted by World War II, when he became involved in the war effort as president of the Spartan Aircraft Company.
193940In 1945 Getty purchased a sixty-four-acre property in the Caon de Sentimiento in Malibu, California. He renovated the existing Spanish-style ranch house and the grounds to hold part of his art collection and a small zoo.
1945In 194849 Getty negotiated the oil concession in the Neutral Zone between Saudi Arabia and Kuwait and transformed his company Getty Oil into a global enterprise.
194849Sometime after World War II, Getty returned to antiquities collecting, and the period of 194958 proved to be his most fruitful. Numerous sculptures from distinguished collections became available, includ-ing the Lansdowne Herakles and several Elgin marbles. This time was also marked by Gettys professional relationship with his advisor Jean Charbonneaux.
194958In 1953 Getty founded a museum in his Malibu ranch house, which officially opened in April 1954. A portion of the house was accessible to the public a few days a week, while the rest remained for the collectors personal use. Several rooms were dedicated to paintings, eighteenth-century French furni-ture, and antiquities, which were also displayed outside in a tiled courtyard called the Monkey Court.
195354Soon after the museum opened, Getty required that his most prized antiquities be moved inside for their preservation. It became apparent that space was lacking to accommodate large-scale sculptures such as the Lansdowne Herakles. In 1957 the collector decided to add a wing to the ranch house to display ancient art.
1957Getty enjoyed relative anonymity until November 1957, when an article published in Fortune listed him as the richest man alive in the United States. He responded, I dont think there is any glory in being known as a moneybags. Id rather be considered an active businessman.
1957No antiquities were purchased in 195967, but Gettys diaries reveal that they continued to be on his mind. During this period, Getty meditated on his career as a collector and often compared himself with the Roman emperor Hadrian (ruled A.D. 117138) and the American newspaper tycoon William Randolph Hearst (18631951).
195967The year 1968 reopened an active period of collecting at a time when Getty was formulating plans for a new museum building. The choice of a Roman villa as its model, as well as Gettys relationship with his advisor Bernard Ashmole, influenced his selection of acquisi-tions, which included frescoes, mosaics, vases, and minor arts such as glass and silver.
196876By April 1968 Gettys collection had outgrown the space available in the ranch house, and he decided to erect an additional building on his Malibu property. He ultimately chose to re-create the ancient Villa dei Papiri at Herculaneum. When the new museum opened in January 1974, his architectural choice was criticized by reviewers but popular with the public.
196874Getty had left the United States in 1951 to manage his business interests with the intention to return. In 1959, after years of nomadic life in Europe, he bought Sutton Place, a sixteenth-century Tudor mansion in Surrey, England, where he resided for the rest of his life.
1959On June 6, 1976, at the age of eighty-three, Getty passed away at Sutton Place without having visited his museum, to which he bequeathed the bulk of his fortune with a mission for the diffusion of artistic and general knowledge. In accordance with his last will, he was buried at Inspiration Point, a cliff overlooking the ocean on his Malibu ranch.
1976
Sarah C. McPherson Risher, 1889; George F. Getty, 1920
All
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J. P
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J. Paul Getty at age eleven with his first dog, Jip, in Bartlesville, Oklahoma, 1904
Getty with King Ibn Saud in Saudi Arabia, 1955
Cou
rtes
y of
For
tune
Cover of the magazine Fortune, November 1957
Sutton Place, Surrey, after 1959 Getty with his fifth wife, Theodora Teddy Lynch, at Inspiration Point, Malibu, 1947
Getty as an oil executive, 1930s Getty with his lioness Teresa in Malibu, late 1940s
The Petit Trianon, Gettys beach house in Santa Monica, California, 1940s
The Monkey Court with a display of ancient sculpture, early 1950s. The Lansdowne Herakles can be seen at far right.
The
J. P
aul G
etty
Mus
eum
The antiquities gallery in the ranch house, after 1957
Cou
rtes
y of
the
Dai
ly T
eleg
raph
Mag
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15,
197
4, p
g. 5
6
Getty (left) with friends and associates at Sutton Place, examining a model of his villa, early 1970s
The term Romanesque refers to westernEuropean art in the 1000s and 1100s.
Manuscript illumination from this period is characterized by intricate surface deco-
ration, such as intertwined figures and plant forms that energize the page with their powerful, rhythmic compositions.
The Ottonian Empire, which lasted from 962 until 1024, extended into sections of present-day Germany and Italy. Ottonian artists such as Nivardus of Milan often enlivened their letter forms with whimsical human figures.
Decorated Initial D: Two Men Climbing through Vines (detail)
Inhabited Initial Q (detail)
900 1000 1100 1200 1300 1400 1500 16 00
Ot tOnian GOthic Late MedievaL and Renaissance
ROManesque
Human, animal, and fantastic figures animate the large introductory letters in Ottonian and Romanesque
manuscripts from the 900s to the 1100s. The luxurious aspect of books from these periods was often
emphasized by the large expanses of blank parchment (a prized commodity) in the margins of the page.
Secular subjects that inhabited the richly decorated initials of religious books set a precedent for includ-
ing scenes of everyday life in the margins of later Gothic manuscripts. The delightful treatment of the
vines in the initials, as if they were real plants with a three-dimensional presence, greatly influenced
the design of later medieval borders.
The Inhabi ted Ini t ialin the Ottonian and Romanesque Periods
coLLectoRs cHoice: J. PAUL GettY And His AntiQUities, NOVEmbER 18, 2009FEbRuARY 8, 2010
oUt-oF-boUnds: iMAGes in tHe MARGins oF MedievAL MAnUscRiPts, sEPTEmbER 1NOVEmbER 8, 2009
Line to LiGHt: RenAissAnce dRAWinG in FLoRence And venice, JuLY 20OCTObER 10, 2010
Pg 15 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
Image credit line:Univers: 8/9.6 pt; 45 Light
Caption:Univers: 12/14 pt;
55 Roman
stAndArds not depicted
Funerary VesselsWhite-ground painting is a fragile technique that was often applied to lekythoi, oil jars that were left as offerings at graves or were buried with the dead. The vessels typically bear funerary scenes. One of the lekythoi displayed here shows a woman adorning a gravestone with ritual ribbons. The others depict women and youths visiting grave sites with various offerings, such as an egg, a symbol of rebirth.
96.AE.99; 73.AE.41
Oil Jar with an Egg OfferingGreek, made in Athens, 460450 b.c.
Terracotta
White-ground lekythos attributed to the Painter of Athens 1826
Gift of Barbara and Lawrence Fleischman
Oil Jar with Offerings of LekythoiGreek, made in Athens, 460450 b.c.
Terracotta
White-ground lekythos attributed to the Sabouroff Painter
Page 8 of 10
Womens CaseObject LabelsGallery 207 - Women and Children in Antiquity
FINAL ART 55/1/08
Writers: JG/Team 1Designers: AM/DVZEditor: S. Tchaitian
Printed at 100%Final size: 6H (approx.)Paper Color:
Villa Interpretive Materials The Getty Villa Permanent Collectio J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747
VIM
Image okay
Image okay
86.AE.265
Cup with a Woman Drinking in a Storeroom
Greek, made in Athens, 470460 b.c.
Terracotta
Red-figured skyphos
An unusual scene decorates this deep cup: a servant girl unhappily balances a full wineskin while carrying a jug, and an older, double-chinned woman tilts her head back to drink from a large vessel. Such an image of a woman getting drunk was probably amusing to men at a symposion, where this cup would have been used.
Page 6of 7
Women in Public CaseObject LabelsGallery 207 - Women and Children in Antiquity
FINAL ART1/28/06
Writers: JG/Team 1Designers: AM/DVZEditor: S. Tchaitian
Printed at 100%Final size: 6H (approx.)Paper Color: Gray
Villa Interpretive Materials The Getty Villa Permanent Collectio J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747
VIM
The other side of this cup depicts a store-room filled with household objects.
520
no change Image okay
Image okay
EDITORIAL TIPS
Titles are descriptive and visitor-friendly.
Begin with specifi c visual cues that encourage close looking and proceed to contextual information.
Present one to three essential points to encourage close looking and understandingpoint out what is interesting or important and explain the iconography and function.
Where meaningful or relevant, offer observations on the extent of restoration, archaeological context, or previous owners.
Translate inscriptions and defi ne specialized terminology (in the example at left, the word symposion was defi ned the fi rst time it was mentioned in the case).
Supplementary illustrations may show part of an object hidden from view or illustrate a point discussed in the label text.
Caption/tombstone order: Object title, culture, place made, date, place found, media, techni-cal name and attribution, dimensions, courtesy/credit, accession/loan/exhibition number
SPECIFICATIONS
Word count: Tombstone (object info) + 30100 words
Measurements: **SEE DESIGNS VILLA INTERPRETIVE MATERIALS GUIDE**
Typeface:Minion Pro (may be customized to suit the installation), with Univers for captions, credits, and accession/loan/exhibition number
Use old-style numerals and fi , fl , and ff ligatures, when available.
E. OBJECT LABELS DEPARTMENT OF ANTIQUITIES
oBJect lABels_Antiquities
GROuP CAsE LAbEL: FINAL sIZE: 11.5 W X 5.625 H sTANDARD VILLA 6 LAbEL; VILLA PERmANENT COLLECTION GROuP CAsE LAbEL, WoMen And cHiLdRen in AntiQUitY, GALLERY 207
CAsE LAbEL, FINAL sIZE: 11.5 W X 5.625 H sTANDARD VILLA 6 LAbEL / VILLA PERmANENT COLLECTION, WoMen And cHiLdRen in AntiQUitY, GALLERY 207
Title:Minion Pro: 22/24 pt;
Semibold
Culture/Dates:Minion Pro: 16/16 pt; Regular
Media:Minion Pro: 16/16 pt; Regular
Expert line:Minion Pro: 14/16 pt; Regular
Body copy:Minion Pro: 18/22 pt;
Regular
Accession number:Univers: 8/12 pt; 45 Light
GettyGuide:Standard size as built;
expert numerals
Pg 16 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without express authority in writing from the J. Paul Getty Museum, Exhibition Design Department. HUM A Light Touch: Exploring Humor in Drawing
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust 10 of 24 Object LabelsShown at 100%
Amorous Putti at Play; Head of a BirdAbout 1530
Michelangelo BuonarrotiItalian, 14751564Pen and black and brown ink
In contrast to the finished religious composition on the other side of this sheet (reproduced below), Michelangelo here made playful doodles. The boy at left has fallen into a drunken slumber; meanwhile, a male infant approaches a female counterpart, who is encouraged by a young friend. Other pen sketches showing the artists varied thoughts include the head of a bird as well as an inscription, Tempo verra ancor (Time will come again), deriving from the early Renaissance poet Petrarch (Italian, 13041374).
93.GB.51, verso
The Holy Family, about 1530, Michelangelo Buonarroti. 93.GB.51, recto
The Age of GoldAbout 1565
Jacopo ZucchiItalian, about 15411596Pen and brown ink and brush with brown, ocher, and red wash, heightened with white gouache on ocher-washed paper
Animals and humans peacefully coexist in this idyllic scene, which represents the first of the four ages (Gold, Silver, Bronze, and Iron) that followed the creation of the world, according to classical mythology. In addition to the more serious and idealized classical nudes and an elaborate land-scape, Zucchi punned on the golden theme of the scene by playfully including two nude infants urinating into a stream of water.
84.GG.22
Final Art 2 8.27.08
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without express authority in writing from the J. Paul Getty Museum, Exhibition Design Department. HUM A Light Touch: Exploring Humor in Drawing
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust 11 of 24 Object LabelsShown at 100%
Printed at 100%
An Album of Pencil Sketches (Study of Figures at a Funeral)About 1877
Edgar DegasFrench, 18341917 Pencil on heavy wove paper
95.GD.35
In this sheet, which verges on caricature, Degas studied the faces of figures attending a funeral. Despite the occasions somber mood, the artist exaggerated the amusing aspects of his subjects, from the protruding nose and sloped forehead of the man at bottom center to the pronounced noses of the three women in profile at upper right. This sketchbook also contains studies of dancers and singers as well as portraits of Degass friends.
Final Art 2 8.27.08
A LiGHt toUcH: eXPLoRinG HUMoR in dRAWinG, sEPTEmbER 23DECEmbER 7, 2008 EXTENDED WALL LAbEL: FINAL sIZE: 6 W X 8.5 H
A LiGHt toUcH: eXPLoRinG HUMoR in dRAWinG, sEPTEmbER 23DECEmbER 7, 2008 CAsE RAIL LAbEL: FINAL sIZE: 11 W X 4.5 H
EDITORIAL TIPS
Begin with specifi c visual cues that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points to encourage close looking and understanding.
Describe the subject or composition and mention or elaborate on the purpose of the drawing, particularly with comparative illustrations, to increase understanding.
Describe the materials and/or techniques the artist used.
If only one page of an album of sketches is open, discuss book overall.
Caption/tombstone order: Title, date, maker, nationality and life dates, media, dimensions, courtesy/credit, accession/loan/exhibition number
SPECIFICATIONS
Word count: Wall labels: Tombstone (object info) + 30 words for small or 70 words for standard
Measurements: Standard: 6 W X 7 HExtended: 6 W X 8.5 HCase: 11 W x 4.5 H
Typeface:Minion Pro (may be customized to suit the exhibition)
Use old-style numerals and fi , fl , and ff ligatures, when available.
Fabrication:Photocopy print on paper stock to be selected from in-house inventory
E. OBJECT LABELS DEPARTMENT OF DRAWINGS
stAndArds not depicted
Lender line:Univers: 16/18 pt;
45 Light
Title:Minion Pro: 24/24 pt;
Semibold
Dates:Minion Pro: 18/22 pt; Regular
Artist:Minion Pro: 24/24 pt;
Semibold
Artist dates:Minion Pro: 18/22 pt; Regular
Media:Minion Pro: 14/18 pt; Regular
Body copy:Minion Pro: 18/22 pt;
Regular
Accession number:Univers: 8/12 pt;
55 Roman
Illustration:Embed in body copy,
in most cases, align to
right margin
Caption:Univers: 12/14 pt; 55 Roman
* Text may be placed to left of
illustration to left align with
body copy
oBJect lABels_drawings
NOTE: ON LAbELs WITH muLTIPLE COLumNs, ALIGN bODY COPY TO bAsELINE OF TITLE IN sECOND AND THIRD COLumNs.
Pg 17 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
EDITORIAL TIPS
Begin with specifi c visual cues that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points to encourage close looking and understandingpoint out what is interesting or important and explain the iconography.
Explain the purpose, use, and/or name of text, if appropriate.
Specialized terminology related to manuscripts or Christianity (such as miniature or liturgy) should either be defi ned or supported by appropriate contextual cues.
Keep a non-Christian audience in mind.
Shading of book icon indicates primary image being discussed.
Caption/tombstone order: Title of illumination, city of origin with date of illumination, maker (if known), author, source (language), courtesy/credit, accession/loan/exhibition number (use Ms. numbers, not accession numbers)
SPECIFICATIONS
Word count:Standard wall labels: Tombstone (object info) + 70 words
Case labels: Tombstone + 120140 words, 1 or 2 columns of text (illustration can replace 1 column of text)
Measurements: Standard wall: 6 W X 8.5 HTombstone wall: 6 W X 4.5 HCase: 15 W x 4.5 H or 10.25 W x 4.5 H
Typeface:Minion Pro (may be customized to suit the exhibition). Use old-style numerals and fi , fl , and ff ligatures, when available.
E. OBJECT LABELS DEPARTMENT OF MANUSCRIPTS
oBJect lABels_manuscripts
Feast Scenes1300s
Tempera and metal leaf (probably gold) on panel
This multipaneled work presents the feasts celebrated
during the church year. The narrative begins with the
Annunciation (1) and unfolds horizontally across all
four panels, echoing the chronology of Christs life
with the exception of the Transfiguration (12). The story
continues on the bottom row and concludes with the
Dormition (falling asleep, or death) of the Virgin (15),
which is followed by a portrait of Saints George and
Demetrius (16). In addition to the standard images of
the twelve major feasts, this cycle also includes images
of Christ on the Way to Calvary (7), the Descent from
the Cross (9), and the Lamentation (10). These images
emphasize Holy Week, during which events of Christs
Passion are commemorated. Holy Week culminates
in Easter, the celebration of the Resurrection that is
encapsulated in the image of the Anastasis (11).
Lent by the Holy Monastery of Saint Catherine, Sinai, Egypt
Cat. no. 18
3- Column Labels @ 85% of actual size(Full size = 19 x 6.5)
PROOF 510.19.06
Page 6 of 13Michael Lira, Simon Adlam, Robert Checchi, Jennifer KubelJ. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 Holy Image, Hallowed Ground: Icons From Sinai
3- Column Labels @ 85% of actual size
737
1 2 3 4 5 6 7 8
9 10 11 12 13 14 15 16
Panel 1 Panel 2 Panel 3 Panel 4
1. The Annunciation2. The Nativity3. The Presentation in the Temple4. The Baptism of Christ5. The Raising of Lazarus6. The Entry into Jerusalem7. Christ on the Way to Calvary8. The Crucifixion
9. The Deposition from the Cross10. The Lamentation11. The Anastasis (Resurrection)12. The Transfiguration13. The Ascension14. The Pentecost15. The Dormition of the Virgin16. Saints George and Demetrius
SHRINE AND SHROUD (SAS)Case Labels Page 6 of 12
FINAL ART6.16.05
J. Paul Getty Museum Exhibition Design Tel 310 440 7248 Fax 310 440 7747 Design: Nicole Trudeau + Davina Henderson
Initial O: The Man of SorrowsBruges, 1450s
Master of the Llangattock HoursLlangattock Hours (text in Latin)
Ms. Ludwig IX 7, fols. 14v15
TEXTILES IN RITUAL AND CEREMONY
In the center of this initial O, Christ sits on the edge of his tomb after his Resurrection. Two angels draw back a white cloth from his body, and objects related to his Passion (such as the cross and a spear) fill the background. Standard burial practice during Christs lifetime and throughout the Middle Ages involved wrapping the deceased in a simple cloth shroud. Here the opening of the textile reveals Christs body and focuses attention
on the bleeding wounds in his hands and side. This image, known as the Man of Sorrows, rst appeared in the fteenth century when Christian devotion focused increasingly on Christs human suffering. The prayer that follows this initial asks for Christs mercy and meditates on his sacrifice.
The Entry into JerusalemLyons, about 148090
Master of Guillaume Lambert and WorkshopAttributed to Jean Gerson
The Passion of Our Lord Jesus Christ (text in French)
Ms. 25, fols. 5v6
TEXTILES IN RITUAL AND CEREMONY
Christ rides on a donkey toward the gate of Jerusalem, followed by his apostles and Mary. As in the biblical description of this event, the residents of the city, shown on the right, welcome him with praises of Hosanna in the highest! and lay their cloaks on the ground for the donkey to tread upon. Placed in front of thrones or along a
kings path during processions, long strips of textiles (called runners) were important elements of royal palace decoration. This practice is the source of the contemporary phrase rolling out the red carpet. By lay-ing down cloth garments to separate Christ from the ground, the textiles underscore Christs majestic nature.
Artist
Author
Artist
FINAL sIZE: 15 W X 4.5 H
HoLY iMAGe, HALLoWed GRoUnd: icons FRoM sinAi, NOVEmbER 14, 2006mARCH 4, 2007
sHRine And sHRoUd: teXtiLes in iLLUMinAted MAnUscRiPts, JuNE 28OCTObER 2, 2005
NOTE: ON LAbELs WITH muLTIPLE COLumNs, ALIGN bODY COPY TO bAsELINE OF TITLE IN sECOND AND THIRD COLumNs.
stAndArds not depicted
Lender line:Univers: 12/14 pt;
45 Light
Caption:Univers: 12/14 pt;
55 Roman
Title:Minion Pro: 24/24 pt; Semibold
Dates:Minion Pro: 16/22 pt; Regular
Artist:Minion Pro: 16/18 pt; Semibold Author:Minion Pro: 14/18 pt; Regular
Section title:Minion Pro: 20/24 pt; Regular
GettyGuide:Standard size as built;
expert numerals
Body copy:Minion Pro: 18/22 pt;
Regular
Accession number:Univers: 8 pt; 55 Roman
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93.PA.14
A Walk at DuskAbout 183035
Caspar David FriedrichGerman, 17741840
Oil on canvas
A central gure in the German Romantic move-ment, Friedrich possessed a deeply personal and introspective vision that attracted a wide following. Among the last canvases he completed before a debilitating stroke, A Walk at Dusk shows a singlegureperhaps the artist himselfcontemplating a megalithic tomb. This symbol of death is coun-terbalanced by the waxing moon, which was for Friedrich a sign of Christs promise of rebirth.
Label # 1 Last revision: 4/22/04
Gallery W201
Label color: Light green m a s t e r
West PavilionPaintings
853
proof 3
NPR
Object Labels
NPR
Object Labels FIN
AL A
RT_5
06/02/1054 of 128
Reproduction R
estricted. This drawing and its
contents are the property of the J. Paul Getty
Museum
, Exhibition Design D
epartment. The
use of same in w
hole or part does not include
the right to reproduce or publish without ex-
press authority in writing from
the J. Paul Getty
Museum
, Exhibition Design D
epartment.
It is the responsibility of the manufacturer/
fabricator/ contractor to verify all dimensions
and report any discrepancies to the J. Paul Getty
Museum
prior to comm
encement of w
ork.
2010 J. Paul Getty Trust
NPR
Object Labels
NPR
Object Labels FIN
AL A
RT_5
54 of 128W
all Label w/ illus 7.5 x 10.375
A Hare in the ForestAbout 1585
Hans Hoffmann German, about 15301591/92Oil on panel
At the edge of a forest glen, an alert hare nibbles on a clump of ladys mantle. Hoffmanns meticulous technique captures the texture of tufted fur and the characteristics of individual plants and animals, heightening the reality of the scene. He was inspired by Albrecht Drers 1502 watercolor of a hare (see reproduction below). This panel was prized by Hoffmanns patron, Emperor Rudolf II (15571612), the most important collector in central Europe. Only three years after its completion, Hoffmann helped Rudolf II obtain Drers Hare, and both works were kept in the emperors Kunstkammer (art treasury) in Prague. Hare, 1502, Albrecht Drer
(German, 14711528). Watercolor on paper
Cou
rtes
y of the
Graph
ische Sam
mlung
Albertin
a, Vienn
a
2001.12
76446
FAMILY
sTANDARD WALL LAbEL:FINAL sIZE: 7.5 W X 8.5 H
EXTENDED WALL LAbEL:FINAL sIZE: 7.5 W X 10 H
D. OBJECT LABELS DEPARTMENT OF PAINTINGS
oBJect lABels_paintings
Title:Minion Pro: 30/32 pt;
Semibold
Dates:Minion Pro: 22/27 pt; Regular
Artist:Minion Pro: 30/32 pt;
Semibold
Artist dates:Minion Pro: 22/27 pt; Regular
Media:Minion Pro: 18/22 pt; Regular
GettyGuide:Standard size as built;
expert numerals
Body copy:Minion Pro: 22/27 pt;
Regular
Accession number:Univers: 8 pt; 55 Roman
*Base align to top of
GG rule
EDITORIAL TIPS
Begin with specifi c visual cues that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points to encourage close looking and understanding.
Minimize excess amounts of data in parentheses by including life dates only for artists and subjects.
Caption/tombstone order: Title, date, maker, nationality and life dates, media, dimensions, courtesy/credit, accession/loan/exhibition number
SPECIFICATIONS
Word count: Wall labels: Tombstone (object info) + 70 words body copy for standard size, or + 100 words for extended
Measurements: Tombstone: 7.5 W X 5 HStandard: 7.5 W X 8.5 HExtended: 7.5 W X 10 H
Typeface:Minion Pro (may be customized to suit an exhibition)
Use old-style numerals and fi , fl , and ff ligatures, when available.
Fabrication:Photocopy print on paper stock to be selected from in-house inventory
Lender line:Univers: 16/19 pt; 45 Light
*Use 1/4 space between lender
line and accession number
Credit line:Univers: 8/9.6; 55 Roman
*Use 1/8 space between image
and credit.
Caption:Univers: 12/14 pt; 55 Roman
stAndArds not depicted
93.PA.14
A Walk at DuskAbout 183035
Caspar David FriedrichGerman, 17741840
Oil on canvas
A central gure in the German Romantic move-ment, Friedrich possessed a deeply personal and introspective vision that attracted a wide following. Among the last canvases he completed before a debilitating stroke, A Walk at Dusk shows a singlegureperhaps the artist himselfcontemplating a megalithic tomb. This symbol of death is coun-terbalanced by the waxing moon, which was for Friedrich a sign of Christs promise of rebirth.
Label # 1 Last revision: 4/22/04
Gallery W201
Label color: Light green m a s t e r
West PavilionPaintings
853
proof 3
Pg 19 of 41
-
*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
EX.2009.4.17
Chinese Girl1938
Paul OuterbridgeAmerican, 18961958
Carbro print
Lent by the Wilson Centre for Photography
EX.2009.4.18
Lent by the Wilson Centre for Photography
Phoenix Rising1937
Paul OuterbridgeAmerican, 18961958
Carbro print
Here Outerbridge created a composition that boldly fragments the female body with great visual power. A plaster cast of the head of Hermes (Greek messenger god and bringer of dreams) sits just below the models breasts and is held in place by her two upraised arms. Reminiscent of Ingress depiction of the Sphinx (see reproduction below), Outerbridges composite form conjures notions of the tension between real and ideal beauty as well as mortality and immortality. Oedipus and the Sphinx, about 1826, Jean-Auguste-Dominique Ingres (French, 17801867). Oil on canvas, 17.5 x 13.7 cm. Courtesy of the Louvre Museum, Paris
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department. POE Paul Outerbridge: Command Performance
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust Final Art 2 3.3.09Wall Labels 32 of 65
EX.2009.4.17
Chinese Girl1938
Paul OuterbridgeAmerican, 18961958
Carbro print
Lent by the Wilson Centre for Photography
EX.2009.4.18
Lent by the Wilson Centre for Photography
Phoenix Rising1937
Paul OuterbridgeAmerican, 18961958
Carbro print
Here Outerbridge created a composition that boldly fragments the female body with great visual power. A plaster cast of the head of Hermes (Greek messenger god and bringer of dreams) sits just below the models breasts and is held in place by her two upraised arms. Reminiscent of Ingress depiction of the Sphinx (see reproduction below), Outerbridges composite form conjures notions of the tension between real and ideal beauty as well as mortality and immortality. Oedipus and the Sphinx, about 1826, Jean-Auguste-Dominique Ingres (French, 17801867). Oil on canvas, 17.5 x 13.7 cm. Courtesy of the Louvre Museum, Paris
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department. POE Paul Outerbridge: Command Performance
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust Final Art 2 3.3.09Wall Labels 32 of 65
E. OBJECT LABELS DEPARTMENT OF PHOTOGRAPHS
oBJect lABels_photographs
84.XM.126.168
Member of Parliament (Democrat)1928
August SanderGerman, 18761964
Gelatin silver print
Businessman and parliamentarian Johannes Scheerer was one of the many individuals at the fringes of the political spectrum. He shoulders his umbrella like a shotgun, measuring up the viewer with an owlish, suspicious glance. Behind this formidable facade lurks a character more akin to a provincial schoolmaster than a legislator.
84.XM.126.414
Town Councilor1928
August SanderGerman, 18761964
Gelatin silver print
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department. AUG August Sanders People of the Twentieth Century
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust FINAL 6.18.09AUG Labels FINAL.indd 27 of 65
EXTENDED WALL LAbEL:FINAL sIZE: 6 W X 10 H
Caption:Univers: 12/14 pt; 55 Roman
* Text may be placed to left of
illustration to left align with
body copy
Lender line:Univers: 12/16 pt;
45 Light
EDITORIAL TIPS
Begin with specifi c visual cues that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points to encourage close looking and understanding.
Employ quotations, particularly the voice of the artist.
Defi ne specialized and technical terminology.
Monographic shows do not need to repeat artists name, nationality, and life dates.
Minimize excess amounts of data in parentheses by including life dates only for artists and subjects.
Caption/tombstone order: Title, date, maker, nationality and life dates, media, dimensions, courtesy/credit, accession/loan/exhibition number
SPECIFICATIONS
Word count: Wall labels: Tombstone (object info) + 30 words for small or 70 words for standard
Measurements: Tombstone: 6 W X 5.5 H; no artist line 6 W X 4.5 HStandard: 6 W X 7.5 HExtended: 6 W X 10 H (with comparative illustration)Case: 6/10.25/15 W X 4.5 H
Typeface:Minion Pro (may be customized to suit the exhibition)
Use old-style numerals and fi , fl , and ff ligatures, when available.
Fabrication:Photocopy print on paper stock to be selected from in-house inventory
sTANDARD WALL LAbEL :FINAL sIZE: 6 W X 7.5 H
Title:Minion Pro: 24/25 pt;
Semibold
Dates:Minion Pro: 18/22 pt; Regular
Artist:Minion Pro: 24/24 pt;
Semibold
Artist dates:Minion Pro: 18/22 pt; Regular
Media:Minion Pro: 14/18 pt; Regular
Illustration:Embedded in body copy,
aligned to right margin
Body copy:Minion Pro: 18/22 pt;
Regular
Accession number:Univers: 8 pt; 55 Roman
stAndArds not depicted
GettyGuide:Regular size as built;
expert numerals
PAUL oUteRbRidGe: coMMAnd PeRFoRMAnce, mARCH 31AuGusT 9, 2009
AUGUst sAndeR: PeoPLe oF tHe tWentietH centURY, mAY 6sEPTEmbER 14, 2008
EX.2009.4.17
Chinese Girl1938
Paul OuterbridgeAmerican, 18961958
Carbro print
Lent by the Wilson Centre for Photography
EX.2009.4.18
Lent by the Wilson Centre for Photography
Phoenix Rising1937
Paul OuterbridgeAmerican, 18961958
Carbro print
Here Outerbridge created a composition that boldly fragments the female body with great visual power. A plaster cast of the head of Hermes (Greek messenger god and bringer of dreams) sits just below the models breasts and is held in place by her two upraised arms. Reminiscent of Ingress depiction of the Sphinx (see reproduction below), Outerbridges composite form conjures notions of the tension between real and ideal beauty as well as mortality and immortality. Oedipus and the Sphinx, about 1826, Jean-Auguste-Dominique Ingres (French, 17801867). Oil on canvas, 17.5 x 13.7 cm. Courtesy of the Louvre Museum, Paris
Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department. POE Paul Outerbridge: Command Performance
It is the responsibility of the manufacturer/fabrica-tor/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2007 J. Paul Getty Trust Final Art 2 3.3.09Wall Labels 32 of 65
Pg 20 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
NPR Object Labels NPR Object Labels FINAL 03/30/10 1 of 129Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department.
It is the responsibility of the manufacturer/fabricator/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2008 J. Paul Getty Trust
Wall Label w/ illus 7.5 x 8.875
Pair of Sphinxes on ScrollsItalian, about 1560 Bronze
Sphinxescomposite figures with the upper body of a woman and the lower limbs of a reclining lionwere depicted as demons in ancient mythol-ogy. During the Renaissance, particularly in the work of Andrea Briosco, called Riccio, these hybrid monsters were sometimes shown with the wings of eagles. Sphinxes were popular as guardians of portals and as bearers of sarcophagi. This pair may have originally held up a sarcophagus in a wall tomb.
85.SB.418.1.4
Detail of a sphinx on the Paschal candelabrum (used during Easter) in Paduas Basilica of Saint Anthony, 150716, Andrea Briosco, called Riccio (Italian, 14701532). Bronze
Courtes
y of the Bas
ilica
of Saint A
nthony
, Pad
ua
GROuP CAsE RAIL LAbEL :FINAL sIZE: 6 W X 5.687 H
*ICONs usED FOR CAsE GROuPINGs
** LARGER sIZE LAbELs usED FOR DIsTANCE VIEWING
WALL LAbEL:FINAL sIZE: 7.5 W X 8.75 H
EDITORIAL TIPS
Begin with specifi c visual cues that encourage close looking and proceed to biographical and contextual information, when relevant.
Present one to three essential points to encourage close looking and understanding.
Incorporate line drawings of installation on group stanchions. Pay attention to sequencing numbers (top to bottom, left to right).
May incorporate images of open objects or alternative views.
Describe the materials, process, and/or tech-niques the artist(s) used in creating the object.
Caption/tombstone order: Title/object name, culture, date, maker (if known), nationality and life dates (if known), media, dimensions, courtesy/credit, accession/loan/exhibition number
SPECIFICATIONS
Word count: Wall labels: Tombstone (object info) + 30 words for small or 70 words for standard
Measurements: Standard wall: 7.5 W X 8.75 H Extended wall: 7.5 W X 10.375 H Case: 6/9/10/11.5 W x 4 H (stained glass)Pedestal: 6.5/13 W x 5.687 H
Typeface:Minion Pro (may be customized to suit the exhibition)
Use old-style numerals and fi , fl , and ff ligatures, when available.
Fabrication:Photocopy print on paper stock to be selected from in-house inventory
E. OBJECT LABELS DEPARTMENT OF SCULPTURE & DEC. ARTS
Venus Chastising CupidItalian (Venice), 1500s Bronze
NPR Object Labels NPR Object Labels FINAL ART_5 05/18/10 10 of 128Reproduction Restricted. This drawing and its contents are the property of the J. Paul Getty Museum, Exhibition Design Department. The use of same in whole or part does not include
the right to reproduce or publish without ex-press authority in writing from the J. Paul Getty Museum, Exhibition Design Department.
It is the responsibility of the manufacturer/fabricator/ contractor to verify all dimensions and report any discrepancies to the J. Paul Getty Museum prior to commencement of work. 2010 J. Paul Getty Trust
Case Single object 6 x 5.687
Sphinx with Male Masks1500s After a model by Andrea Briosco, called RiccioItalian, 14701532Bronze
Kneeling Satyr1500s Workshop of Andrea Briosco, called RiccioItalian, 14701532Bronze
85.SB.62.63 85.SB.66
Title:Minion Pro: 30/32 pt;
Semibold
Dates:Minion Pro: 22/27 pt; Regular
Media:Minion Pro: 18/22 pt; Regular
Body copy:Minion Pro: 22/28 pt;
Regular
Caption:Univers: 12/14 pt;
55 Roman
Credit:Univers: 8/9.6 pt;
55 Roman
Accession number:Univers: 8 pt; 55 Roman
stAndArds not depicted
Lender line:Univers: 12/15 pt;
45 Light
GettyGuide:Large size as built;
expert numerals
Title:Minion Pro: 22/24 pt;
Semibold
Dates:Minion Pro: 18/24 pt; Regular
Media:Minion Pro: 16/20 pt; Regular
Accession number:Univers: 8/12 pt;
55 Roman
oBJect lABels_sculpture & decArts
Lender line:Univers: 16/18 pt;
45 Light
Body copy:Minion Pro: 18/22
pt; Regular
stAndArds not depicted
GettyGuide:Standard size as built;
expert numerals
ChandelierFrench (Paris), about 1710Attributed to Andr-Charles Boulle (16421732, master before 1666)
Gilt bronze
76.DF.13
Pair of Wall LightsFrench (Paris), about 1720Gilt bronze
The sinuous branches of these wall lights resemble designs by Andr-Charles Boulle. This prolific craftsman became royal cabinetmaker in 1672 and was exempt from the guild restrictions gov-erning the production of furniture. Unlike guild members, he was allowed to work with both wood and metal.
97.DF.16.1.2
Mantel ClockFrench (Paris), about 171525Case attributed to Andr-Charles Boulle (16421732, master before 1666); face and movement signed by Paul Gudin (active about 17391755)
Oak veneered with tortoiseshell, blue-painted horn, brass, and ebony; enameled metal; gilt-bronze mounts; glass
Cupid originally held the long-handled scythe of Father Time (who reclines below). Love conquering Time was a favorite decorative theme of the 1700s.72.DB.55
Pair of Lidded VasesPossibly Italian or French (Paris), 1700Marble; gilt-bronze mounts
93.DJ.43.1.2
Lidded VaseChinese, Kangxi reign, 16621722Hard-paste porcelain and underglaze blue decoration
86.DE.629
Pair of FiredogsFrench (Paris), about 1735Gilt bronze
These firedogs are cast with military trophies and weapons. One represents land warfare, with a classical cuirass (armored breastplate) upheld by a club and a battering ram. The other, symbolizing sea warfare, has armor in the Turkish style, with a feathered turban, an anchor, and a naval cannon.
71.DF.114.1.2
Pair of CandelabraFrench (Paris), about 168090Iron; gilt bronze; rock crystal, glass, and semiprecious stones
The small size and opulent decoration of these candelabra suggest that they were intended to be displayed in an intimate, elegant interior.
85.DF.382.1.2
Inkstand with PaperweightsFrench (Paris), about 1715Gilt bronze
75.DF.6
Lidded BowlPorcelain: Japanese (Imari), early 1700sMounts: French (Paris), about 171727Hard-paste porcelain, underglaze blue, enamel decoration, and gilding; silver mounts
A Parisian silversmith constructed this covered bowl by joining together two separate pieces of Japanese porcelain: a bowl and a dish. The dish was inverted to form the lid. To unify the new lid with the bowl, silver mounts were added to create the finial, handle, and rims.
74.DI.27
CasketFrench (Paris), about 168090Wood veneered with brass, pewter, copper, mother-of-pearl, and stained and painted horn; gilt-bronze mounts
The top of this box is decorated with a marquetry scene depicting Venus reclining by the shore of a lake, attended by three cupids. The casket would have contained various articles for use during the toilette, such as hair ornaments.
88.DA.111
Writing TableFrench (Paris), about 171020Attributed to Andr-Charles Boulle (16421732, master before 1666)
Oak veneered with brass, ebony, and tortoiseshell; gilt-bronze mounts; leather top
85.DA.23
CarpetFrench (Savonnerie manufactory), about 166567Wool and linen
The Savonnerie manufactory made carpets and screen panels, chieXy for the French royal family. This carpet was delivered to Louis XIV in 1667. It has retained much of its original bright coloring and is extremely rare for its date, condition, and royal provenance.
70.DC.63
Desk ChairFrench (Paris), about 1735Walnut; leather upholstery; velvet pocket lining; brass studs
This chair contains an especially convenient innovation: small, velvet-lined compartments hidden under the hinged arm pads. These were used for the storage of personal items, such as a snuVbox, spectacles, or money.71.DA.91
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GROuP CAsE RAIL LAbEL: PERmANENT COLLECTION ROOm LAbEL: sOuTH PAVILION, RGence PAneLed RooM, 17101730, GALLERY s105 OuTDOOR sCuLPTuRE LAbEL
Label #12
Last revision: 7.6.06
Area: T.B.D.
Label color: T.B.D. M A S T E R
StarkSculptures
Walking FlowerDesigned, ; cast,
Fernand LgerFrench,
Glazed ceramic
Gift of Fran and Ray Stark
2005.110
FINAL PROOF
Do NotTouch
PERmANENT COLLECTION ObJECT LAbEL: NORTH PAVILION, RenAissAnce ARt in itALY And noRtHeRn eURoPe, GALLERY N101
PERmANENT COLLECTION ObJECT LAbEL: NORTH PAVILION, RenAissAnce ARt in itALY And noRtHeRn eURoPe, GALLERY N101
Pg 21 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust supplementArY mAteriAls
EDITORIAL TIPS
Use short, contextual information to explain what is being depicted. Give just enough information so that visitor can identify it and fi nd it in the gallery, if applicable.
SPECIFICATIONS
Word count: Dependent on copy required to adequately describe and source imagery
Typeface:Customized to suit installation
Fabrication:A variety of materials may be used for large- scale graphics. Dependent on installation and budgetary constraints.
F. SUPPLEMENTARY MATERIALS WALL QUOTES, MURALS, AND CAPTIONS
PsV ADHEsIVE PRINTED muRAL: tAKinG sHAPe: FindinG scULPtURe in tHe decoRAtive ARts, mARCH 31JuLY 5, 2009
WALL CAPTION FOR PsV ADHEsIVE PRINTED muRAL: tAKinG sHAPe: Find-inG scULPtURe in tHe decoRAtive ARts, mARCH 31JuLY 5, 2009
WET APPLICATION muRAL: tHe AZtec PAntHeon And tHe ARt oF eMPiRe, mARCH 24JuLY 5, 2010
VINYL LETTER DIRECT APPLICATION: cAPtURinG nAtURes beAUtY: tHRee centURies oF FRencH LAndscAPes, JuLY 28NOVEmbER 1, 2009
Although eyewitness depictions of the Templo Mayor in
Tenochtitlan are lacking, this 1582 image of the principal
temple in Texcoco provides evidence for a comparable
stepped pyramid. About one hundred feet high, it was
surmounted by twin shrines dedicated to the rain god
Tlaloc and the war god Huitzilopochtli.
Illustration after a watercolor from the Codex Ixtlilxochitl,
colonial Mexican, late 1500searly 1600s
This enlarged reproduction of an albumen silver print shows the actual size of the marble sculpture Pluto Abducting Proserpine by Franois Girardon (French, ), installed since in the Colonnade on the grounds of Versailles.
The Colonnades, detail from Souvenirs of Versailles, Map of the Park, and Photographic Views of the Chteau, the Basins, and the Two Trianon Palaces (in French), about , unknown photographer. Albumen silver print, . x . cm. The J. Paul Getty Museum, .xb..
( ):
Pluto Abducting Proserpine, , Franois Girardon
e Colonnades, about , unknown photographer
e artist should not attempt to paint a portrait of insigni cant, inanimate nature: he should portray it as it speaks to his soul.
Pierre-Henri de Valenciennes, Refl ections and Advice to a Student of Painting and Particularly on the Genre of Landscape (in French),
Pg 22 of 41
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*items depicted not to scAle
interpretive elementscomplete Guide to Adult Audience interpretive mAteriAls 2011 J. Paul Getty Trust
The laTe hosT of The TonighT
show, Johnny Carson, who hailed
from nebraska, knew ThaT when
he welComed The CounTry To
beauTiful downTown burbank
every evening, his midwesTern
aCCenT didnT fool anyone. in faCT,
downTown burbank, JusT norTh of
los angeles, is a business disTriCT
whose residenTs inClude nbC (home
of Carsons show), disney, and The
108-aCre warner bros. loT. burbank
is far from main sTreeT ameriCa,
buT iT is where bruCe berman works
and where a good porTion of his
expanding ColleCTion of ameriCan
phoTographs is displayed. piCTures
Cover The walls of lobbies, offiCes,
and halls in bermans ninTh-floor
suiTe of The new warner bros.
CorporaTe building on burbanks
riverside drive.
fig. 1 n3413.930w11617.310 (detail). negative, 199598; print, 1998. John divola (american, born 1949). digital output print, 76.2 x 76.2 cm. gift of nancy and bruce berman. 99.XM.88.29. John divola
teaching in Dayton, Ohio, Jack Teemer investigated other peoples backyards, more private spaces than what might be seen from the street (fig. 7). The series he achieved by carrying his camera through the alleys of Baltimore, Cincinnati, and Cleveland contains a profusion of pets, plants, outdoor furniture, and fences assembled by an equal variety of tenants and homeowners. Joel Sternfeld restlessly crosses the country from his native New York to Alaska in search of Americas landmarks. For
decades by Camilo Jos Vergara is the storefront church. Encouraged by Bermans interest, Vergara returns to Chicago, Los Angeles, Detroit, and other cities to record the renovation, reuse, and occasional ruin of these neighborhood institutions (fig. 3).
Choosing more intimate subjects, Doug Dubois (fig. 4) and Mitch Epstein (fig. 5) create pictures of family, documenting domesticity in a personal as well as a universally American way. George Tice took on a familiar New Jersey neighborhood for an early documentary project (fig. 6). He later admitted that his vision of the region lacked objectivity because it was also, inevitably, a picture of his own past. While
fig. 7 baltimore, 1980. print, 1985. Jack d. Teemer Jr. (american, 19481992). Chromogenic print, 20.5 x 26.2 cm. gift of nancy and bruce berman. 2005.99.7. Joan Teemer
Sternfeld, such monuments are the sites of tragic events, such as the small Memphis motel where civil rights leader Martin Luther King Jr. was assassinated and the Los Angeles intersection that was the flash point of a major civic uprising in 1993 (fig. 8). Afraid that we will forget, Sternfeld photographs to extend our memory.
These images, many in the style that Walker Evans called transcendental documentary, represent the personal responses of one outstanding collector and several thoughtful and talented photographers to the value and fleeting nature of the barns, churches, billboards, and Main Streets that make up our visual
and social environment. Although the pace of American life all but guarantees that this landscape will change or even disappear, the Berman collection ensures our future sight of the past.
Judith Keller and Anne Lacoste, Department of Photographs
fig. 8 The northwest Corner of florence and normandie avenues, los angeles, California, october 1993. print, 2005. Joel sternfeld (american, born 1944). Chromogenic print, 47 x 59.7 cm. promis